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Content includes:
Franz H. Wills: Adolf Prazsky, Publicity Campaign of the ČSA
Franz H. Wills: E. R. Vogenauer
Urs Lang-Kurz: Lichtmontagen Photomontages with a Difference
Werner Suhr: Günther T. Schulz, Illustrations
E. Hölscher: Portugal advertises Tourist Travel
Theo Ortner: Sgraffito, Mural Graphic
Anton Sailer: Munich’s Carnival Posters 1950
Lindau Picture Sheets
E. Hölscher: BFrom the Advertisement to the Money-Box
Model and Copy
Max Körner: Kiel’s Publicity Symbol
Gerd F. G. Setzke: Bemerkungen zum Kieler Wettbewerb
Plagiat oder nicht? Eine Erwiderung
Mitteilungen de Bundes Deutscher Gebrauchsgraphiker

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Gebrauchsgraphik, 04, 1950
Gebrauchsgraphik, 04, 1950

 

Adolf Prazsky, Publicity Campaign of the ČSA Feature
Adolf Prazsky, Publicity Campaign of the ČSA Feature

 

Adolf Prazsky, Publicity Campaign of the ČSA Feature
Adolf Prazsky, Publicity Campaign of the ČSA Feature
More graphic design artefacts
From the design archive:
From the design archive:
From the design archive:
From the design archive:
More graphic design history articles
I have long been a fan of Counter-Print, as a student, I would order their newsprint publications, peruse their Flickr albums and now, over a decade later I still buy their latest releases and their site provides our staff with great giftse throughout the year. I interviewed one of the founders, Jon Dowling to find out more about setting up Counter-Print, their favourite books and which publishers inspire them.

Members Content

As a chemist, I have an obligation to be curious – I grab a stack of our chemical journals and start with the advertising section. I start it, the walk through the sand. I don’t want to deny some oases. But soon I’m bored and tired.

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The designer is unstated on these postcards, which were designed during the mid to late 1970s, but these playful illustrations alongside what looks to be Frankfurter Bold definitely fit the criteria of friendliness and efficiency
Among the young graphic artists of Berlin, who set to work after the war, Hans Adolf Albitz and Ruth Albitz-Geiß can claim special attention. In a short time, at a period when economic conditions were pretty unfavourable, they worked themselves so to the fore that their names came to mean something in Berlin publicity, and in western Germany their posters are known and appreciated, too.